孟郊詩對山水之觀看範式及其呈現之天人關係

The Perspective Modes of Meng Jiao’s Poems toward Shan-Shui and the Relationship with the Nature

受到家國動盪與個人際遇的撕扯，孟郊詩作偏好演示各種頹敗醜惡的畫面，筆下物態經常產生奇異的變形，建構出另類的觀看範式，亦隱約對知識分子心目中的天人關係提出截然不同的認知。本篇論文嘗試盤整孟郊敘及山水的詩歌，探討他如何悖反傳統將大自然崇高化的傾向，形塑其暴虐的樣相、甚或卑黯的性質。視覺上，孟郊並不總是展現向外拓伸之廣袤空間感，反倒時常把眼光收近，製造主體被山水覆壓、有所阻滯的錯覺，顯露出往內蜷縮的空間感。伴隨而來的，是孟郊砌築了一套獨特的破碎美學，各種細瑣、殘缺的意象大量累疊於作品中，更推導出與身心病痛緊密勾連的敘述，其「遊」其「觀」之間，往往記錄了一個「遊觀能力消褪」的受限主體。經由這些分析，進一步省察孟郊如何翻新「山水」之意義、與世界的距離為何，並藉以審視他如何定位自我。

Affected by national unrest and personal encounters, Meng Jiao preferred to present various decadence and ugliness in his poems. The state of matters he presented often generated strange transformation and then established alternative perspective paradigms, which provides with entirely different cognition of intellectuals on the relationship between Nature and man. The thesis takes Meng Jiao and his San-Shui poems as the research target. It discusses how he transformed the traditionally esteemed nature into the fierce form or even the low and gloomy characteristic under the influence of vintage accommodating. In terms of visual effect, Meng Jiao did not always present outward extensive space but had vision closer; he preferred generating subjects being oppressed and interfering illusions, which presents inward curling up space; the author’s mental states obviously dominated the description mode. What follows up is the unique broken aesthetics which Meng Jiao built up; a variety of trivial and incomplete images massively piled up in his works, which infers the description of tightly woven physical and mental illnesses. Between“You（tour）”and“Guan（perspective）”recorded the limited subject of“vanishing abilities of tours and